American Idiot sees electric guitars and the art of storytelling combine

American Idiot combines narrative and music to sublime effect (Picture: John Daughtry)

Theatre review: American Idiot brings an adrenalin rush of a kind rarely seen in musical theatre to London.

Rock music reached its maturity many moons ago but it’s yet to embed itself securely in the language of musical theatre: electric guitars and the stage art of storytelling through song continue to resist easy fellowship. But they come together to often sublime effect in this show based on the 2004 Green Day concept album of the same name, with a book by Green Day singer Billie Joe Armstrong and director Michael Mayer.

Set in post-9/11 suburban America, it tells the tale of three male friends, Johnny (Alex Nee), Will (Casey O’Farrell) and Tunny (Thomas Hettrick), and their quest to put a little fun and meaning into their lives. It doesn’t turn out well.

There’s rarely a let-up in the music, so the story is carried almost entirely by the songs. Narrative is the show’s weakest suit, although the pictures conjured up by Mayer’s dynamic production are worth a thousand words: there’s an unforgettable mid-air dance sequence as injured soldier Tunny hallucinates in his hospital bed.

Musically, it’s spectacular. The sounds from the small onstage band are largely limited to guitars and drums but there’s such an abundance of melodic invention, there’s never any sense of sameyness, with great vocal arrangements giving the songs extra swell and resonance.

Delivered with impassioned precision by a strong touring US cast, the result is an adrenalin rush of a kind rarely seen in musical theatre. Robert Shore